The Art of Becoming

The Art of Becoming is a vital resource for courses on improvisation in contemporary practice, and for those applying musical improvisation in community and therapeutic contexts, setting out a framework based on psychological findings for ...

Author: Raymond A. R. MacDonald

Publisher: Oxford University Press

ISBN: 0190840935

Category: Music

Page: 192

View: 230

At a time of unprecedented interest in improvisation across the arts, The Art of Becoming boldly asserts that everyone can and should improvise. Drawing on emerging psychological literature as well as their own research with musicians, authors Raymond MacDonald and Graeme Wilson - both music psychologists and renowned performers in their own right - propose new ideas on what defines improvisation in music. MacDonald and Wilson explore the cognitive processes involved, the role of specialist skills or knowledge in improvised interaction, and the nature of understanding between improvisers. Their investigation lays out how we develop as improvisers, alongside health benefits derived from music participation. The Art of Becoming is a vital resource for courses on improvisation in contemporary practice, and for those applying musical improvisation in community and therapeutic contexts, setting out a framework based on psychological findings for understanding improvisation as a universal capability and an essentially social behavior. With suggestions for approaching this practice in new ways at any level, it demonstrates how improvisation transcends musical genres and facilitates collaboration between practitioners from disciplines across the artistic spectrum. Putting forward important implications for contemporary artistic practices, pedagogy, music therapy and the psychology of social behavior, The Art of Becoming provides fresh and provocative insights for anyone interested in playing, studying, teaching, or listening to improvised music.

Group Improvisation

The Group Mind, the Holy Grail of improvisation, is created by a synergy among improv participants. It's like ESP.

Author: Peter Campbell Gwinn

Publisher: Meriwether Pub

ISBN: 9781566081382

Category: Performing Arts

Page: 137

View: 562

Who would have thought that participating in group improv could be so enlightening and rewarding? Peter Gwinn and his colleagues at the i.O. Theatre in Chicago developed The Group Mind to create a new awareness in the mind and spirit of any group or team. The Group Mind, the Holy Grail of improvisation, is created by a synergy among improv participants. It's like ESP. It's the feeling of being part of a greater entity, a sense of excitement, belonging, importance that takes teamwork to a new level. Over forty improv games are included for developing group chemistry: creation, bonding, dynamics, energy, focus and more. Techniques are discussed for breaking the ice, agreement, listening and support, teamwork, quick thinking and having fun! Sample chapters: An Introduction to Mind Reading. The Morale Majority. The Games and Their Explanations, Bonding, Focus, Awareness, Creation, Energy, Dynamics, Party Games and more.

Free to Be Musical

Offering a set of experiences to inspire creative musical expression, this book will prove useful for music education majors, practicing music teachers, community musicians, and music therapists alike.

Author: Lee Higgins, president-elect, International Society for Music Education

Publisher: R&L Education

ISBN: 1607094991

Category: Education

Page: 150

View: 405

Free to Be Musical: Group Improvisation in Music is for those who lead musical experiences in the lives of children, youth, and adults. Offering a set of experiences to inspire creative musical expression, this book will prove useful for music education majors, practicing music teachers, community musicians, and music therapists alike.

Improvisation Dance Movement

The leader must consider which tasks are suitable for : a ) individuals b ) pairs c )
small groups d ) large groups Improvisation in small groups Individual
improvisation Individual experiences with set tasks are nearly always the
prerequisite for ...

Author: Barbara Haselbach

Publisher: Mmb Music

ISBN:

Category: Dance for children.

Page: 125

View: 572


Improvisation

The conducting game allows exploration of group dynamics and group
relationships. · Both warm-ups 9 and 10 facilitate a group learning about not
playing all the time. It is a weakness of group improvisation that there seems to
be a driving ...

Author: Tony Wigram

Publisher: Jessica Kingsley Publishers

ISBN: 1843100487

Category: Psychology

Page: 237

View: 783

Beginning with an overview of developing, teaching and analysing the skills of improvisation, the author describes techniques ranging from warming up to mirroring, rhythmic grounding, containing and holding. Notated examples allow readers to progress as they read and listen to the accompanying CD.

The Lived Experience of Improvisation

large group improvisation in higher education. While jazz and improvising
orchestras may be regarded as within different genres, there are noteworthy
similarities in practice. Referencing the jazz orchestras of Duke Ellington, Count
Basie and ...

Author: Simon Rose

Publisher: Intellect Books

ISBN: 1783206756

Category: Education

Page: 267

View: 209

Improvisation is crucial to a wide range of artistic activities—most prominently, perhaps, in music, but extending to other fields of experience such as literature and pedagogy. Yet it gets short shrift in both appreciation and analysis of art within education. This is in no small part due to our tendency to view the world in fixed categories and structures that belie our ability to generate creative, ground-breaking responses within and between those structures. The Lived Experience of Improvisation draws on an analysis of interviews with highly regarded improvisers, including Roscoe Mitchell, Pauline Oliveros and George Lewis. Simon Rose also exploits his own experience as a musician and teacher, making a compelling case for bringing back improvisation from the margins. He argues that improvisation is a pervasive aspect of being human and that it should be at the heart of our teaching and understanding of the world.

Expanding the Space for Improvisation Pedagogy in Music

free improvisation 3, 67, 68, 107, 109; in primary school settlings 135, 136, 138;
see also children's talk about improvis- ing (Una MacGlone); group improvisation
teaching (Graeme B. Wilson and Raymond A.R. MacDonald) Freire, Paulo 108, ...

Author: Guro Gravem Johansen

Publisher: Routledge

ISBN: 1351199943

Category: Education

Page: 284

View: 594

Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation. The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique. This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.

The Improvisation Studies Reader

After a while, when the members of the group genuinely feel the sensation of
being intimately united by the exercise, they should go to the exercise for group
improvisation. This is different from the individual exercise. This time the theme
must ...

Author: Ajay Heble

Publisher: Routledge

ISBN: 1136187146

Category: Music

Page: 462

View: 320

Improvisation is a performance practice that animates and activates diverse energies of inspiration, critique, and invention. In recent years it has coalesced into an exciting and innovative new field of interdisciplinary scholarly inquiry, becoming a cornerstone of both practical and theoretical approaches to performance. The Improvisation Studies Reader draws together the works of key artists and thinkers from a range of disciplines, including theatre, music, literature, film, and dance. Divided by keywords into eight sections, this book bridges the gaps between these fields. The book includes case studies, exercises, graphic scores and poems in order to produce a teaching and research resource that identifies central themes in improvisation studies. The sections include: Listening Trust/Risk Flow Dissonance Responsibility Liveness Surprise Hope Each section of the Reader is introduced by a newly commissioned think piece by a key figure in the field, which opens up research questions reflecting on the keyword in question. By placing key theoretical and classic texts in conversation with cutting-edge research and artists’ statements, this book answers the urgent questions facing improvising artists and theorists in the mediatized Twenty-First Century.

Improvisation

of group playing with solo playing is something I have tried to maintain ever since
. ... The most obvious differences to group improvisation - greater cohesiveness
and easier control for the soloist – are not , in improvisation , necessarily ...

Author: Derek Bailey

Publisher:

ISBN:

Category: Improvisation (Music)

Page: 146

View: 328

By drawing on conversations with some of today's seminal improvisers --including John Zorn, Jerry Garcia, Steve Howe, Steve Lacy, Lionel Salter, Earle Brown, Paco Pena, Max Roach, Evan Parker, and Ronnie Scott-- Bailey offers a clear-eyed view of the breathtaking spectrum of possibilities inherent in improvisational practice, while underpinning its importance as the basis for all music-making.

Improvisation in Rehearsal

3 Like - minded Friends This group improvisation works best with about four or
five actors . One actor in the group will be improvising as his or her character in
the play – let ' s call it the focal character – while the other actors abandon work
on ...

Author: John Abbott

Publisher:

ISBN:

Category: Performing Arts

Page: 204

View: 982

After the successful Improvisation Book, John Abbott now explains how theater directors at every level can use improvisation during rehearsals.

Creative Improvisation

Jazz, Contemporary Music, and Beyond : how to Develop Techniques of
Improvisation for Any Musical Context R. T. ... with other musicians in
improvisation 6 The individual as soloist within a group The soloist improvising
with a sparse group ...

Author: R. T. Dean

Publisher:

ISBN:

Category: Music

Page: 136

View: 672

Distributed by Taylor and Francis. Subtitled, How to develop techniques of improvisation for any musical context. Cloth edition (not seen by Book News), $65. Annotation copyrighted by Book News, Inc., Portland, OR

A Study of Improvisation in High School Alternative String Ensembles

Much of this discussion happened in informal interviews and focus groups when
their trust level with me as researcher and ... Directors believe that students
engage more often in group improvisation than individual improvisation practice ,
but ...

Author: Kimberly Lansinger

Publisher:

ISBN:

Category: Bowed stringed instruments

Page: 254

View: 188


Recorder Improvisation and Technique

Author: Isabel McNeill Carley

Publisher:

ISBN:

Category: Improvisation (Music)

Page:

View: 620


Free Jazz and Free Improvisation

The free jazz revolution that began in the 1950s has had a profound influence on both jazz & rock music.

Author: Todd S. Jenkins

Publisher: Greenwood Publishing Group

ISBN: 9780313333132

Category: Free jazz

Page: 468

View: 664

The free jazz revolution that began in the mid-1950s represented an artistic and sociopolitical response to the economic, racial, and musical climate of jazz and the nation. In parallel with the American civil rights movement, free jazz exemplified an escape from the restrictive rules of musical performance with an emphasis on individual expression and musical democracy. A handful of major individual artists opened the gateway to intense personalization of performances through astonishing new techniques, and inner-city collectives were formed to support artistic experimentation and community education. Reviled by most critics and jazz fans in its nascence, and still highly misunderstood today, free jazz eventually had a profound influence on subsequent developments in jazz and rock, forever changing the musical landscape. Todd S. Jenkins' handy encyclopedia of free music reflects upon the personalities, styles, organizations, philosophy and politics of a musical form to which too little prior attention has been devoted. Directing readers to outstanding recorded performances, it serves as an essential introduction to this difficult but rewarding music, offering a scholarly historical and cultural overview that provides a critical assessment of one of the most misunderstood periods in American music. Filling many gaps left in previously published literature on the subject, Jenkins's work is a necessary addition to the shelves of music libraries and the collections of jazz aficionados alike.

The Effects of Music Improvisation Instruction on Elementary Students Tonal Singing Achievement and Developmental Tonal Aptitude

the no - improvisation control group and the improvisation - instruction
experimental group . The researcher taught two classes ; one was assigned to
the control group and another to the experimental group . Another teacher taught
four ...

Author: Emily Jambeau

Publisher:

ISBN:

Category: Electronic dissertations

Page: 130

View: 418


Improvisation in Twentieth century Solo Piano Repertoire

Author: Robert C. Paul

Publisher:

ISBN:

Category: Improvisation (Music)

Page: 290

View: 341


Whose Improv is it Anyway

claimed to have developed “ a learning system which can reach the intuitive
power of the individual and release genius ” and called group improvisation a “
communion ” among players ( Coleman 23 ; Spolin 45 ) . Spolin ' s methodology
is ...

Author: Amy E. Seham

Publisher:

ISBN:

Category: Performing Arts

Page: 258

View: 995

An inside view of improv comedy in Chicago

General Music Today Yearbook

This type of improvisation requires a sense of trust among the group , as well as
good listening and communication skills . Burnard ( 2002 ) investigated how
group musical improvisation affects social interaction , working with a group of
twelve ...

Author:

Publisher:

ISBN:

Category: Music teachers

Page:

View: 114


Lookout Farm

Author:

Publisher:

ISBN:

Category: Improvisation (Music)

Page: 139

View: 848


The Implications of Using Improvisation in Undergraduate Class Piano Curricula

The purpose of the study was to examine their process of group improvisation
focusing on the concept of improvisation , its relation to analytical listening ,
social and musical interaction , and the possibility of its implication into the
existing ...

Author: Yuko Kishimoto

Publisher:

ISBN:

Category: Improvisation (Music)

Page: 94

View: 295